2015Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2015-11-09UTC14:13:22+00:002015-11-09An evening of Adagio cello concertante works in Auckland was enlivened by a stirring Beethoven Fifth. Thrilling Beethoven but a surfeit of cello adagios with the ACOen_GBtruehttps://bachtrack.com/review-sakakushev-von-bismark-scholes-auckland-november-2015Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngSimon Holdenhttps://bachtrack.com/22/270/list-published/1888https://bachtrack.com/22/270/list-published/1888https://bachtrack.com/files/55032-simon-holden.jpgSimon is an operaphile based in Auckland, New Zealand. He wrote his
dissertation on Japanese popular music. With a background in piano and
classical music retail, he spends his time attending as much
opera or vocal concert as he can and blogs at
irishenceaway.blogspot.com.2015-Nov-08, Raye Freedman Arts Centre: ACO6 with Sakakushev-von Bismarckhttps://bachtrack.com/concert-listing/raye-freedman-arts-centre/aco6-with-sakakushev-von-bismarck/08-november-2015/17-002015-11-082015-11-08Raye Freedman Arts CentreAucklandAucklandNew ZealandAuckland 1023Silver,Epsom-36.8761771174.77363913

For whatever reason, performers have always seemed to fear the fourth wall. They are content to let their music speak for itself, and any attempt to address the audience verbally is often considered lowbrow. This makes sense in some regards, as it facilitates the image of performer as master and lends artistic integrity to the music.